The Quality Inn, Bedford, NH
August 6, 2007
For more information visit www.barnstar.com
or call 845.876.0616

This year, the Bedford Pickers Market show, long a highlight of New Hampshire’s annual antiques week in August, will move from its traditional Friday spot to Monday. Dealers and collectors will both benefit from the change, says show promoter Frank Gaglio. Now there’s no downtime for visitors between Northeast Auction’s Sunday sale and the opening of Antiques Week on Tuesday. Barn Star’s successful Mid-Week in Manchester will continue to be held in the same location on Wednesday and Thursday, August 8–9.

Highlight: Making Myth Modern — Primordial Themes
in German 20th-Century Sculpture

The Frick Collection has announced plans to establish a Center for the History of Collecting in America, to be located at the Frick Art Reference Library in New York.

The Frick’s objectives are to bring together scholars in the field; host frequent symposia and colloquia; develop fellowship programs; and eventually offer an established scholar a full-year of support for postdoctoral research in this field.

Highlight: The Mirror and the Mask — Portraiture in the Age of Picasso

In the twentieth century, portraiture was the perfect arena for artists looking to challenge the conventions of representation in art. The word “portrait” created tradition-bound expectations they were free to flout. Attitudes toward portraiture were further complicated by new ideas about the fluid nature of identity. Free to advance new ideas through portraiture, a portrait now often said more about its creator than the sitter. Telling the story of portraiture in the modern age, this dazzling collection of modern portraits and self-portraits from over seventy-five European and North American collections includes work by Vincent van Gogh, Pablo Picasso, and David Hockney, just some of the artists who reinvented the traditions of ortraiture in daring and provocative ways.

Over one hundred examples of needlework selected by guest curator Dr. Gloria Seaman Allen offer tangible evidence of the rich mixture of cultures that have shaped Maryland. An indispensable element of female education up to the mid-nineteenth century; girls as young as six labored over these samplers that incorporate rhymes, precepts, and more. Some recorded local history, like Mary Hickman’s 1814 sampler showing the Baltimore Basilica when the building was still in progress. Dr. Allen’s book, A Maryland Sampling, showcasing the regional, religious, and racial diversity in Maryland girlhood embroidery, is available from the museum shop at 410.685.3750, ext. 305.

Highlight: Impressions of Philadelphia —
North American Print Conference

In celebration of its 25th anniversary, The Philadelphia Print Shop is host to this conference on the history of print and mapmaking. Sessions take place at the Athenaeum, the Academy of Natural Sciences, and the Historical Society of Pennsylvania. Two receptions and a bus tour of the city’s historic Germantown neighborhood are also scheduled. Presentations include “The Devil’s Servants: Satire in Colonial America and the Visual Language of Conflict,” “William Penn, Thomas Holme, and the Contested Creation of a Map of the Improved Part of the Province of Pennsylvania, 1687,” and the “Rise of Philadelphia’s New Urban Landscape, 1840–1860.”

Although he made his name as an artist and illustrator of Western subjects, Frederic Remington (1861–1909) was born and buried in Canton, New York, and produced most of his work in his studio in New Rochelle. Organized by the Frederic Remington Art Museum in Ogdensburg, NewYork, the exhibition features original paintings, drawings, and four sculptures that present the famed Western landscape painter’s exemplary skill and breadth of work. A recent bequest, the 1885 watercolor Sunday Morning Toilet on the Ranch, points to Remington’s early devotion to the theme of cowboy ritual and camaraderie. Magazine and book illustrations made Remington a household name by the end of the nineteenth century, and the exhibition features examples of some of his best illustrations, including his illustrations for six stories of Theodore Roosevelt’s Western exploits published in The Century.

A rich exchange between Venice and America was initiated in the second half of the twentieth century when American artists, seeking technical knowledge and skills, traveled to Venice, a preeminent glass center since the sixteenth century. Spanning the Venetian postwar industrial revival in the 1940s through the birth of the American studio glass movement in the 1960s and up to the present, the exhibition showcases American artists who worked in Venice—among them Dale Chihuly, whose Chihuly Over Venice project will be highlighted—and Italian artists who worked in the United States, as well as artists currently working in Italy.

Thaddeus Stevens College of Technology, Lancaster, PA
July 27–30, 2007
For more information visit www.SAPFM.org, contact Tom Turriff at tomturriff@tds.net, or call 920.336.5506

Practical Approaches to 18th-Century Furniture Making is the theme of this year’s conference hosted by the Society of American Period Furniture Makers (SAPFM). Alf Sharp will demonstrate French polishing, Craig Bentzley will share his techniques for developing working drawings, Will Neptune will tackle furniture designs involving curved and angled parts; and Jeff Headley and Steve Hamilton will offer practical solutions to joinery. The conference includes an optional bus trip to the Philadelphia Museum of Art and a private tour of the National Watch and Clock Museum.

Highlight: Imprinting the South — Works on Paper from
the Collection of Lynn Barstis Williams and Stephen J. Goldfarb

Georgia Museum of Art, University of Georgia, Athens, GA
July 21–September 16, 2007
For more information visit www.uga.edu/gamuseum or call 706.542.4662

The American Scene movement, which began in the 1920s and continued through the 1930s and 1940s, embraced printmaking as a medium suited to portraying regional life, and the American South, in particular, gave rise to some of the most aesthetically powerful practitioners of printmaking. Lynn Barstis Williams—later joined by Stephen Goldfarb—first began buying prints from local artists, then started interviewing them about their work in an exploration of their experiences and themes. Williams’ book, Imprinting the South: Southern Printmakers and Their Images of the Region, the 1920s–1940s, was recently published by the University of Alabama Press.

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